Articles - December 2012

Whelm lessons (PoemTalk #60)

Clark Coolidge, 'Blues for Alice'

LISTEN TO THE SHOW

Brian Reed (in from Seattle), Maria Damon (Minnesota), and Craig Dworkin (Utah) joined Al Filreis at the Writers House (Philadelphia) in a rare and — we think — rather fluid convergence of poetic minds prepped to figure out how to talk about an instance of verse bebop. The bop was Charlie Parker’s, as a model for languaged sound (by poet Clark Coolidge), and the template song was “Blues for Alice” (Coolidge’s poem uses the title), and among the possible Alices are Alice Coltrane, Alice Notley, and Alice in Wonderland. We speculate about Alice Coltrane and Alice in Wonderland, but as for Notley: Brian Reed finds evidence that Coolidge meant to dedicate his poem version of the standard bop dedication indeed to Notley. This leads Maria Damon to wonder about all these women dedicatees – these recipients or objects of blues syllabics — in light of such strong male performative struggles, or attempts to “get in on the try,” managed by creative men: Coolidge and Parker, or course, but perhaps Ted Berrigan too, and surely also Jack Kerouac, whose bop-inspired babble flow is very much part of the PoemTalk conversation. The key source for Coolidge’s working out of Kerouac is his important 1995 article published in American Poetry Review on Kerouac’s babble flow and his improvisation generally.

So let’s line up your sources for a full appreciation of this discussion. For especially studious PoemTalk listeners, we might even suggest that you reckon with these materials in this order. First, listen to one of the available recordings of Charlie Parker performing “Blues for Alice.” Then of course read Coolidge's poem (below and also here). Then read at least part of Coolidge’s essay on Kerouac. Then, finally perhaps, read Ron Silliman’s overview of the importance of Coolidge’s critical approach to Kerouac as an aid to our understanding of an “enormous sense of dedication to craft and to the idea that the meaning of form is intimately connected to what you can do with it”; Silliman is talking about Coolidge’s Now It's Jazz: Writings on Kerouac & the Sounds.

Or, alternatively, forget all those ancillary materials; maybe we should all critically “Step down off our whelm lessons.” Perhaps in the end PoemTalk’s 60th episode will serve best as a model for how the meaning of a poem consciously worded from improvised sound can be conveyed through a close reading of its sounds without the producers of such a reading ever shying away from biography, discography and the specific literary histories of influence.

Our engineer for this episode was Chris Martin and our editor, as always, is the incomparable Steve McLaughlin. We wish to correct information conveyed in the discussion: Rachel Blau DuPlessis was indeed the source of the reel-to-reel recording, which she held for many years and then gave to PennSound, whereupon it was digitally converted; she was part of the 1985 symposium at Temple University where Coolidge performed, but did not make the tape.

Blues for Alice, by Clark Coolidge

When you get in on a try you never learn it back
umpteen times the tenth part of a featured world
in black and in back it’s roses and fostered nail
bite rhyme sling slang, a song that teaches without
travail of the tale, the one you longing live
and singing burn
 
It’s insane to remain a trope, of a rinsing out
or a ringing whatever, it’s those bells that . . .
and other riskier small day and fain would be
of the soap a sky dares
 
                                               but we remand,
that we a clasp of the silence you and I, all of
tiny sphering rates back, I say to told wall, back
and back and leave my edge, and add an L
 
Night is so enclosed we’ll never turn its page
its eye, can be mine will be yours, to see all the people
the underneath livid reaching part and past of the lying buildings
the overreacher stops and starts, at in his head, in
in her rhythm
that knowledge is past all of us, so we flare and tap
and top it right up, constant engage and flap in on
keeping pace, our whelming rift, and soil and gleam
and give back the voice, like those eary dead
 
Step down off our whelm lessons and shortly fired
enter the bristle strum of Corrosion Kingdom
where the last comes by first ever ring, every
race through that tunnel of sun drop and pencil
in the margins of a flare, of higher wish than dare,
the stroked calmings of a line will spin and chime
in blue quicks of a dream blues, the chores
of those whispering gone crenulations
 
To meet a care is to dial redeem
and we limp in the time sound balms
so out of kilter is my name in the sun, and I win
in the moon and you sing in that other spelling of win
the way a blue is never singular